Eugene Onegin

Published Wednesday 20 February 2008 at 14:20 by Jon Holliday

This revival of James Macdonald’s fine staging, first seen in 2004 at WNO’s long-time New Theatre home, is both welcome and timely. Performances are again first-class. As Tatyana, Nuccia Focile is truly moving in the famed letter scene as she pours out her innocent, girlish passion, all the more poignant when she is so patronisingly rejected.

Paul Charles Clarke as the earnest, over-sensitive poet, the doomed Lensky is lyrically expressive in both love and anger. In the title role of the aloof cynic Onegin, Rodion Pogossov takes time to establish impact, but grows in stature until his final humiliation is powerfully conveyed. Brindley Sherratt reprises his role as the older worldly-wise Gremin, his touching tribute to his young wife again proving a much appreciated highlight.

Strong support comes from Kathleen Wilkinson as the old nurse Filipyevna and Alexandra Sherman as Olga, while Michael Clifton-Thompson’s cameo of the precious French poet Triquet quite delightfully resists caricature.

Revival director Caroline Chaney re-captures the spirit of the original staging, though still hampered by the angular sets of Tobias Hoheisel. The picture-framing arches, hedges and pillars emphasise intimacy but limit the outdoor activity and ballroom dancing. Alexander Polianichoko conducts the on-form orchestra with true Russian feeling and fervour.

A pity therefore that such an otherwise enjoyable performance is marred by its presentation. Surely sets should be designed to be changed quickly in such a state of the art theatre? Yet it was necessary to bring up the houselights between every one of the seven scenes, fracturing the delicate moods created. An opera which should take just over three hours inclusive of two intervals is actually spread over three and three-quarter hours.